Septet is a bittersweet symphony. While it celebrates the artistic brilliance of the "Hong Kong New Wave" directors, it also acknowledges a sense of loss. By filming entirely on 35mm film, the directors pay homage to a tactile era of filmmaking while chronicling the ephemeral nature of their home. The film stands as a testament to the fact that while the physical landscape of Hong Kong may change, its stories remain etched in the collective memory of its people and their cinema.

Patrick Tam’s Tender is the Night (1980s) utilizes a stylized, poetic approach to explore the anxiety of the pre-1997 emigration wave through the eyes of young lovers. Conversely, the late Ringo Lam’s Astray serves as a heartbreaking final word from the director, following a man who returns to a Hong Kong he no longer recognizes, where the landmarks of his youth have been replaced by steel and glass.

The film opens with Sammo Hung’s Exercise , a 1950s-set piece focusing on the rigorous training of opera students. It sets a tone of discipline and "bitter-sweet" nostalgia, highlighting the physical labor that built the city's early cultural identity. This theme of craftsmanship and heritage is echoed in Yuen Woo-ping’s Homecoming , which bridges the gap between a grandfather steeped in traditional martial arts and his Westernized granddaughter, symbolizing the tension between old-world values and a globalized future.

Ann Hui’s Headmaster (1960s) and Johnnie To’s Bonanza (early 2000s) provide a grounded look at the social shifts within the city. Hui’s segment is a quiet, poignant tribute to the educators who shaped the post-war generation, while To’s piece uses the backdrop of the stock market and the SARS epidemic to illustrate the "get-rich-quick" fever and the resilience of the Hong Kong people during times of economic and health crises.